Abstracts
Abstract
Jeff Pressing identified a group of seven jazz scale-classes that lack [0, 1, 2] subsets, but any added note would create a [0, 1, 2] subset. This article introduces Pressing rhythms in 12-beat cycles, which lack three consecutive onsets, but to which an added onset would create a three-onset run. The seven Pressing rhythm classes are prominent in p’ungmul, a genre of South Korean ensemble drumming that has been extensively researched by Nathan Hesselink. Juxtaposition of Pressing rhythms exploits the close parallelisms between them, with incremental one-onset changes akin to parsimonious voice leading between scales or chords.
Keywords:
- drumming ensembles,
- Pressing scales,
- p’ungmul,
- rhythmic reduction,
- South Korea
Résumé
Jeff Pressing a identifié un groupe de sept classes de gammes de jazz dépourvues de sous-ensembles [0, 1, 2], mais auxquelles toute note ajoutée créerait un sous-ensemble [0, 1, 2]. Cet article présente les structures modales de Pressing appliquées au domaine du rythme, sous la forme de cycles de 12 battements, dans lesquels il y a absence de séquences de trois battements consécutifs, mais auxquels l’ajout d’un battement produirait nécessairement un groupe de trois battements successifs. Les sept classes de rythmes de Pressing occupent une place importante dans le p’ungmul, un genre de musique percussive sud-coréenne qui a fait l’objet de recherches approfondies par Nathan Hesselink. La juxtaposition des rythmes de Pressing montre des parallélismes étroits entre eux, avec des changements incrémentiels lorsqu’on passe de l’un à l’autre, semblables à la conduite parcimonieuse des voix entre des gammes ou des accords.
Mots-clés :
- Corée du Sud,
- ensembles percussifs,
- gammes Pressing,
- p’ungmul,
- réduction rythmique
Appendices
Bibliography
- Augustine of Hippo (2002), On Music, translated by Robert Catesby Talliaferro, Washington, Catholic University Press.
- Babbitt, Milton (1962), “Twelve-tone Rhythmic Structure and the Electronic Medium,” Perspectives of New Music, vol. 1, no 1, pp. 49–79.
- Barker, Andrew (2015), Porphyry’s Commentary on Ptolemy’s Harmonics, Cambridge, Cambridge University Press.
- Callender, Clifton (1998), “Voice-Leading Parsimony in the Music of Alexander Scriabin,” Journal of Music Theory, vol. 42, no 2, pp. 219–233.
- Canda, Edward R. (2023), Gripped by the Drum. The Inspiring Artistry of Master Percussionist Kim Byong Seop, Lawrence, University of Kansas Libraries.
- Cohn, Richard (1996), “Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions,” Music Analysis, vol. 15, no 2, pp. 9–40.
- Friedson, Steven M. (1996), Dancing Prophets. Musical Experience in Tumbuka Healing, Chicago, University of Chicago Press.
- Fürniss, Suzanne (2006), “Aka Polyphony. Music, Theory, Back and Forth,” in Michael Tenzer (ed.), Analytical Studies in World Music, New York, Oxford University Press.
- Grant, Roger Matthew (2013), “Leonhard Euler’s Unfinished Theory of Rhythm,” Journal of Music Theory, vol. 57, no 2, pp. 245–286.
- Hesselink, Nathan (2006), P’ungmul. South Korean Drumming and Dance, Chicago, University of Chicago Press.
- Hesselink, Nathan (2011), “Rhythm and Folk Drumming (P’ungmul) as the Musical Embodiment of Communal Consciousness in South Korean Village Society,” in Michael Tenzer and John Roeder (eds), Analytical and Cross-Cultural Studies in World Music, New York, Oxford University Press, pp. 264–287.
- Hesselink, Nathan (2022), “Cross-Cultural Resonance in the Cadential Hemiola,” Analytical Approaches to World Music, vol. 10, no 1, https://journal.iftawm.org/previous/2022-volume-10-number-1/10-1-hesselink-2/, accessed January 30, 2025.
- Howard, Keith (1991). “Why do it That Way? Rhythmic Models and Motifs in Korean Percussion Bands,” Asian Music, vol. 23, no 1, p. 1–59.
- Howard, Keith (2025). “Revisiting Korean Kaein changgu nori. Rhythm Writ Large,” Analytical Approaches to World Music, vol. 13, no 1, https://journal.iftawm.org/previous/2025-volume-13-no-1/howard_2025/#_ftnref5, accessed September 10, 2025.
- Jimenez de Cisneros Puig, Bernat (2017), “Discovering Flamenco Metric Matrices through a Pulse-Level Analysis,” Analytical Approaches to World Music, vol. 6, no 1, https://journal.iftawm.org/previous/vol6no1/puig/, accessed January 30, 2025.
- Moore, Robin and Elizabeth Sayre (2006), “An Afro-Cuban Batá Piece for Obtalá, King of the White Cloth,” in Michael Tenzer (ed.), Analytical Studies in World Music, New York, Oxford University Press, pp. 120–60.
- Murphy, Scott (2024), “An Approach to Scales in Some Twenty-First Century Television Music,” in Janet Halyard and Nicholas Reyland (eds), The Palgrave Handbook of Music and Sound in Peak TV, London, Palgrave MacMillan, pp. 221–243.
- Povel, Dirk-Jan and Hans Okkerman (1981), “Accents in Equitone Sequences,” Perception and Psychophysics, vol. 30, no 6, pp. 565–572.
- Pressing, Jeff (1978), “Towards an Understanding of Scales in Jazz,” Jazzforschung/Jazz Research, vol. 9, pp. 25–35.
- Pressing, Jeff (1983), “Cognitive Isomorphisms in Pitch and Rhythm in World Music. West Africa, the Balkans, and Western Tonality,” Studies in Music, vol. 17, pp. 38–61.
- Rahn, Jay (1996), “Turning the Analysis Around. Africa-Derived Rhythms and Europe-Derived Music Theory,” Black Music Research Journal, vol. 16, no 1, pp. 71–89.
- Raz, Carmel (2018), “An Eighteenth-Century Theory of Musical Cognition? John Holden’s Essay towards a Rational System of Music (1770),” Journal of Music Theory, vol. 62, no 2, pp. 205–248.
- Riley, Matthew (2004), “The Harmonic Major Mode in Nineteenth-Century Theory and Practice,” Music Analysis, vol. 23, no 1, pp. 1–26.
- Roeder, John (2019), “Timely Negotiations. Formative Interactions in Cyclic Duets,” Analytical Approaches to World Music, vol. 7, no. 1, https://journal.iftawm.org/previous/vol7no1/roeder2/, accessed January 30, 2025.
- Stobart, Henry and Ian Cross (2000), “The Andean Anacrusis? Rhythmic Structure and Perception in Easter Songs of Northern Potosí, Bolivia,” British Journal of Ethnomusicology, vol. 9, no 2, pp. 63–92.
- Stockhausen, Karlheinz (1957), “...wie die Zeit vergeht....”, Die Reihe, vol. 3, pp. 39–40.
- Tabak, Lina (2022), “Short Notes on Strong Beats. Case Studies in African and Afro-Diasporic Meter,” Musica Theorica, vol. 7, no 1, pp. 45–67.
- Tymoczko, Dmitri (2004), “Scale Networks and Debussy,” Journal of Music Theory, vol. 48, no 2, pp. 219–294.
- Tymoczko, Dmitri (2008). “Scale Theory, Serial Theory and Voice Leading,” Music Analysis, vol. 27, no 2, pp. 1–49.
- Williams, Ben (2003), “Encomium for Jeff Pressing,” Music Perception, vol. 20, no 3, pp. 215–221.
- Yeston. Maury (1976), The Stratification of Musical Rhythm, New Haven, Yale University Press.
